20th century
Baroque
Classical
Romantic
20th century
21st century
Solo repertoire
Piccolo
Alto flute
Bass flute
Gál Hans
Aitken, Robert
Amirov, Fikret
Amlin, Martin
Amram, David
Andriessen, Jurriaan
Arnold, Malcolm
Arrieu, Claude
Auric, Georges
Babbit, Milton
Bacchus, Peter
Bacri, Nicolas
Baker, Michael Conway
Baksa, Robert
Barber, Samuel
Barrere, Georges
Bartók, Béla Viktor János
Baton, René-Emmanuel
Beaser, Robert
Bennet, Richard Rodney
Berg, Gunnar
Berio, Luciano
Bernofsky, Lauren
Bernstein, Leonard
Bloch, Ernest
Bolling, Claude
Bon, Maarten
Bonis, Mel
Boughton, Rutland
Boulanger, Marie-Juliette
Boulez, Pierre
Bourdin, Roger
Bournonville, Armand
Bowen, Edwin York
Bozza, Eugène Joseph
Bréville, Pierre
Brings, Allen
Brotons, Salvador
Brown, Elizabeth
Brun, Georges
Burkhard, Willy
Burton, Eldin
Büsser, Henri
Camus, Pierre
Carmichael, John
Carter, Elliott
Casella, Alfredo
Chaynes, Charles
Clarke, Ian
Colgrass, Michael
Colquhoun, Michael
Copland, Aaron
Corigliano, John
Cortese, Luigi
Currier, Sebastian
Dahl, Walter Ingolf Marcus
Damase, Jean-Michel
Davidovsky, Mario
De Lorenzo, Leonardo
Debussy, Claude
Del Tredici, David
DeLaney, Charles Oliver
Delerue, Georges
Denisov, Edison
Dèsbriere, Jacques
Dick, Robert
Dinicu, Grigoraș
Dodgson, Stephen
Dohnányi, Ernő
Dubois, Pierre Max
Dukas, Paul
Durey, Louis
Dutilleux, Henri
Enescu, George
Farkas, Ferenc
Feld, Jindřich
Ferroud, Pierre-Octave
Flothuis, Marius
Folio, Cynthia
Foote, Arthur
Foss, Lukas
Françaix, Jean
Fukushima, Kazuo
Gade, Jacob
Gál, Hans
Gaubert, Philippe
Genzmer, Harald
George, Thom Ritter
Ghidoni, Armando
Gieseking, Walter
Glass, Philip
Glière, Reinhold
Golovin, Andrei
Gordeli, Otar
Grier, Lita
Griffes, Charles Tomlinson
Grinblat, Romuald
Grovlez, Gabriel
Guarnieri, Mozart Camargo
Gubajdulina, Sofia
Hahn, Reynaldo
Hailstork, Adolphus
Halphen, Fernand
Hanson, Howard Harold
Harberg, Amanda
Harbison, John
Harsányi, Tibor
Harty, Hamilton
Heiss, John
Heith, David
Henze, Hans-Werner
Higdon, Jennifer
Hindemith, Paul
Holliger, Heinz
Holmboe, Vagn
Honegger, Arthur
Hoover, Katherine
Hosokawa, Toshio
Hovhaness, Alan
Hüe, Georges Adolphe
Hurel, Philippe
Ibert, Jacques
Ichiyanagi, Toshi
Ittzés, Gergely
Ives, Charles
Jacob, Gordon
James, Bob
Jemnitz, Sándor
Jirák, Karel Boleslav
Jóhannsson, Magnús Blöndal
Jolivet, André
Jongen, Joseph
Karg-Elert, Sigfrid
Kay, Ulysses
Kelterborn, Rudolf
Ķeniņš, Tālivaldis
Kennan, Kent Wheeler
Kennedy, Martin
Kernis, Aaron Jay
Khachaturian, Aram
Kocsár, Miklós
Kodaly, Zoltan
Koechlin, Charles
Kornauth, Egon
Kraft, Leo
Krzywicki, Jan
Kupferman, Meyer
La Montaine, John
Lauber, Joseph
Lavista, Mario
Lee, Eugene
Leeuwen, Ary van
Levinson, Gerald
Liebermann, Lowell
Loudova, Ivana
Mack, Dieter
Mahler, Gustav
Maresz, Yan
Martin, Frank
Martino, Donald
Martinů, Bohuslav
Meltzer, Harold
Messiaen, Olivier
Mihalovici, Marcel
Milhaud, Darius
Mouquet, Jules
Mower, Mike
Muczynski, Robert
Nielsen, Carl
Norby, Erik
Nordenstrom, Gladys
Offermans, Wil
Olsen, Carl Gustav Sparre
Paget, Daniel
Perle, George
Petrovics, Emil
Piazzolla, Astor
Piston, Walter
Poulenc, Francis
Prokofiev, Sergey
Rachmaninoff, Sergei
Ran, Shulamit
Raphael, Günter
Rautavaara, Einojuhani
Ravel, Maurice
Reynolds, Verne
Riegger, Wallingford
Rivier, Jean
Rodrigo, Joaquin
Rota, Nino
Rotaru, Doina
Rouse, Christopher
Roussel, Albert
Rutter, John
Saariaho, Kaija
Sancan, Pierre
Schmidt, Ole
Schocker, Gary
Schulhoff, Erwin
Schwantner, Joseph
Sciarrino, Salvatore
Shostakovich, Dmitri
Sibelius, Jean
Smit, Leo
Tailleferre, Germaine
Takemitsu, Tōru
Taktakishvili, Otar
Tansman, Alexandre
Tomasi, Henri
Tower, Joan
Uébayashi, Yuko
Varèse, Edgar
Vasks, Pēteris
Weigl, Vally
Weinberg, Mieczysław
Wilder, Alec
Williams, Ralph Vaughan
Yi, Chen
Yun, Isang
Zgraja, Krystof
Three Intermezzi for flute and piano
Three Intermezzi for flute and piano
Hans Gál: Three Intermezzi for flute and piano, Op. 103 was composed in 1974. The original title "Three Intermezzi for Treble Recorder/Flute and Harpsichord/Piano suggests the author's intent for a broader variety of interpretation, the reactivation of baroque and classical forms. Performed in sequence, all three intermezzi fit together like an old-style suite.
"With his title Intermezzi, the 84-year-old composer was also referring to Brahms’s late piano work, for this composer and his circle formed the points of departure and
reference in Gál’s production. When played in succession, the basic tempo of
The Intermezzi constantly increase a bit. They have the following effect: it is as if the composer were allowing what is important to him to simply pass by him, more or less in shorthand. The first piece, with its flowing transitions of melodies accompanied by chords in the instrumental partners’ differentiated textures, is reminiscent of Brahms’s art, bringing together Schubert’s culture of the art song and Bach’s contrapuntal perfection. The second movement takes the history of the minuet one step further beyond late Haydn; its middle section, a Ländler, breathes local Viennese atmosphere. In the final piece, Gál takes up the motivic threads of the first two again, allowing something new to develop through variation and alternation – a masterly commentary on the ideals of the cyclic form and its aim of uniting different elements to form a convincing whole."
Habakuk Traber
Gál Hans
Hans Gál (1890 - 1987) was an Austrian composer, teacher, musicologist, and author.
He studied piano with Richard Robert, music history with Guido Adler at the University of Vienna, and composition with Eusebius Mandyczewski, a close friend of
Johannes Brahms. After helping him to edit ten volumes of the Complete Edition of Brahms's works, published by Breitkopf & Härtel in 1926, Mandyczewski became a "spiritual father" to Hans Gál.
During the 1920s, he composed three operas, establishing his broader recognition. In 1929, with endorsements by Wilhelm Furtwängler, Fritz Busch, and Richard Strauss, he was appointed as the director of the Mainz Conservatory.
When the Nazis took over Mainz in March 1933, he was instantly dismissed from his post, and the performance and publication of his works in Germany were prohibited.
After the Anschluss in 1938, Gál fled to London and later settled in Edinburgh, where he taught at the university. Even though he had to spend five months in the Huyton Camp as an enemy alien in 1940, he was able to return to Edinburgh, where he remained for the rest of his life.
In 1947 he was one of the founding members of the Edinburgh Inernational Festival where he appeared as a conductor. In 1957 he received the Grand Austrian State Prize for Music, and later was appointed as an Officer of the Order of the British Empire.
His compositional style combined late Romantic lushness with clarity and restraint, influenced by neoclassicism. After World War II, his music fell into near-complete neglect and saw revival only at the beginning of the 21st century. Among his most notable works: four symphonies, four operas, instrumental concertos, and chamber music compositions.